A Quote by Phil Lesh

... We borrowed it all from Coltrane. I started encouraging everybody in the band to listen to John Coltrane - 'Check it out, see what these guys do.' They take one chord, the tonic chord, and just play all over it. 'We can do that too!' I wanted to make our music something really amazing - I wanted it to be jaw-dropping and turn on a dime and do all of those things that I knew music could do, and nobody told us we couldn't do it. I shouldn't say 'I,' though - Jerry Garcia was behind it the whole way.
But you listen to Coltrane and that's something human, something that's about elevation. It's like making love to a woman. It's about something of value, it's not just loud. It doesn't have that violent connotation to it. I wanted to be a jazz musician so bad, but I really couldn't. There was no way I could figure out to learn how to play.
Nobody wanted to be in business with Death Row because, unfortunately, they felt there was an element there that could be dangerous. But I just knew they had great music and that they were a bunch of guys who wanted to make it out of the ghetto. That's something I can understand.
I take music really seriously. I haven't been doing this for too long, but I've been loving music for a long time. It wasn't really about other artists. I just wanted to do something more for me. I wanted to make a better life for my mom. I didn't have any way to take care of her, and I wanted to make a better way. Music was an outlet, so I went with it, and there you go.
The fact of the matter is that nobody understands what John Coltrane is doing except John Coltrane. And maybe not even him. So we're all experiencing it on this subconscious level.
I'm aware of Yusef Lateef and Sun Ra and John Coltrane. My music cup runneth over. I try to encourage people: don't cut anything off, don't limit yourself. Give it a good listen: you might find something in that goofy Sun Ra noise, that dissonance. Before I learned 'official musicality' - which you should avoid at all costs - I listened to some Sun Ra and Yusef Lateef and John Coltrane and that's where 'Journey to the Center of the Mind' came from. When you intentionally and aggressively pursue musical communication with those powerfully impactful musical geniuses, you will pick up something.
You know, John Coltrane has been sort of a god to me. Seems like, in a way, he didn't get the inspiration out of other musicians. He had it. When you hear a cat do a thing like that, you got to go along with him. I think I heard Coltrane before I really got close to Miles [Davis]. Miles had a tricky way of playing his horn that I didn't understand as much as I did Coltrane. I really didn't understand what Coltrane was doing, but it was so exciting the thing that he was doing.
I knew if I wanted to improvise over chord changes, I'd have to figure out all the scales that went with all those chords.
I skipped school one day to see Dizzy Gillespie, and that's where I met Coltrane. Coltrane and Jimmy Heath just joined the band, and I brought my trumpet, and he was sitting at the piano downstairs waiting to join Dizzy's band. He had his saxophone across his lap, and he looked at me and he said, 'You want to play?'
Then I began to play. Variations on a G major chord, the most wonderful chord known to mankind, infinitely happy. I could live inside a G major chord, with Grace, if she was willing. Everything uncomplicated and good about me could be summed up by that chord.
The very funny thing about "Like A Rolling Stone" is it was a six minute song, there was no music to read from. And there I was playing this unfamiliar instrument. So I would come in on the upbeat of one. I would wait until the band played the chord, and then as quickly as I could come in play the chord.
I just want to play like Jimi Hendrix. I love other forms of music and wish I could play classical piano, or saxophone like John Coltrane, but that will never happen. Because my nature is to play electric guitar really well and to emulate my heroes from the late 1960s.
I had to learn chord shapes. I bought books with chord charts. I used to listen to all kinds of pop music.
I had to learn chord shapes... I bought books with chord charts. I used to listen to all kinds of pop music.
The chords in 'Light My Fire' are based on [John] Coltrane's version of this song. He just solos over A minor and B minor, which is exactly what we did. Coltrane had played with Miles on Kind of Blue and took the idea of modal soloing over one or two chords farther out than anybody. He was a real pioneer - he just kept evolving, going where no one had ever gone. He could always attain this state of ecstasy when he played. Live, there was so much energy, you couldn't believe it. He would play for hours. It was indescribable.
We didn't want to just be a cover group, we wanted to do our music, to be a band. Once we were able to do it, it was a little scary, but it was also something inspiring - something new, fresh for us to get into. It was amazing to see the reaction of our fans.
I grew up with music in the house. I was told I could sing as soon as I started talking. Everybody in my family sang, always lots of records, blues and jazz and soul, R&B, you know, like Mahalia Jackson, Aretha Franklin, Coltrane, that kind of thing.
This site uses cookies to ensure you get the best experience. More info...
Got it!